Last week, we looked at some images of actors in costume for their roles in various Shakespeare plays. The images come from a 1900 book called the Shakespeare Rare Print Collection, edited by Seymour Eaton. These images help give a sense of what kinds of props they may have used at the time. This week, I have some more of these images. Continue reading More Shakespearean Actors and Their Props
One of my many interests is how the props used in Shakespeare’s plays have evolved over time. One way to discover what props may have possibly appeared on stage is by looking at drawings and photographs of famous Shakespearean actors posing as their characters.
The following images come from a 1900 book called the Shakespeare Rare Print Collection, edited by Seymour Eaton. Most of these actors are from the 18th and 19th century. I cannot tell whether they are posing with actual props from their performances, or if they grabbed real items just to pose for these pictures, but at least it is a starting point. Continue reading Shakespearean Actors and Their Props
Disney Dream Job: Walt Disney Imagineer Prop Master – In this video segment, 11-year-old Adam spends a day learning about how to become a Walt Disney Theme Park Prop Master. He visits with the people who design the attractions, tours the shops where the props are fabricated, and browses the warehouse where pieces are stored. It’s not only a great look behind-the-scenes at the park, but it’s also refreshing to see a young kid like Adam who is so passionate about props.
Creative Lives — Prop maker, set stylist and textile homeware designer Mariel Osborn on the joys of physical making – “Lecture in Progress” sits down with Mariel Osborn, a freelance prop maker and set stylist in Manchester, England. They talk about her work, her daily routine, and how she wound up with such a fascinating career.
“Danger, Will Robinson!” See How the Artists at Spectral Motion Built the Incredible Robot for the New Netflix Series, ‘Lost in Space.’ – Like the title says, you can discover how the iconic robot was reinvented for the new television show. The entire suit was sculpted and crafted by hand because the team did not have enough time to use 3D printing. The show uses the practical suit about 85% of the time, with digital effects being used mostly to enhance the scenes.
Light Up Leather Arm Braces – Make Magazine has this great project that marries the old-school techniques of working with leather with the state-of-the-art techniques of blinking lights.
10 Famous Props And The Actors Who Stole Them – I question the authenticity of some of these stories; the iconic props for major franchises are tracked and cataloged so carefully, that I really doubt Chris Hemsworth just ‘walked off’ the set with a Thor hammer. These antics are usually allowed to happen to generate further publicity for a film. That being said, I definitely believe that Hugh Bonneville walked off with a letter from the set of Downton Abbey.
The following article, written by Lisle Bell, first appeared in Theatre Magazine in May of 1922. It’s interesting that theatre-goers from almost a hundred years ago recognized that props were forgotten during awards ceremonies. It’s also cool that one of the ten best props of 1921 was the bar in “Anna Christie”, a prop that I tackled earlier this year.
As the dramatic year draws to a close, the critical pastime of handing out the laurel begins. The producers are sitting in their box offices, counting out the money, and the actors are beginning to look forward to the relaxations of the Atlantic or of Great Neck, but meantime the critical judges, both professional and amateur, are busy thumbing over their accumulated programmes. Those who have blue ribbons to pin, prepare to pin them now.
These exercises usually take the form of “ten best” and “ten best that.” Combing over the productions of the season, the experts select the plays and players who have, in their estimation, contributed most to the advancement of their art. Their choices, alphabetically arranged or else tabulated in the order of merit, are duly published to a waiting world, and mere theatregoers spend many a pleasant evening quarreling with their decisions or improving upon them.
The Drama League makes an authentic choice of those who have rendered the greatest service to the cause, and those thus honored are invited to a banquet, where they occupy such positions of distinction, and are in fact so conspicuous, that one wonders whether they really have a chance to enjoy the food. Perhaps, however, the actors who attend those functions do not have to satisfy an appetite, and so merely go through the motions of eating with evident relish, much as they might do while taking part in a stage meal.
There is something truly fascinating about stage food, and the manner of its histrionic disappearance. Who will ever forget that patient loaf of bread that Margaret Wycherly kept eternally cutting in “Jane Clegg”? And does anyone recall a more intense scene of drama than that opening of the last act of “The Grand Duke”—with no one on the stage but Lionel Atwill and his breakfast? Here was drama reduced to highest nutriment—the conflict between an epicure and his spices which was as packed with thrills as a conflict between a dope fiend and his vices. Atwill gave as much thought and deliberation to the dressing of his salad as Ziegfeld gives to the undressing of his chorus.
The more we think about the importance of this property breakfast, the more we are struck with the fact that the whole domain of stage props has been neglected in the annual awards of the drama experts. Burns Mantle edits a volume of the best plays of the year; the magazine critics issue their ukases of ten best “unfeatured male players,” and “unfeatured female players;” even the reviewers at Podunk and one-night stands get out lists of the best things that have come to the “opry house,”—and all this time the props have languished, unwept and unsung.
Here goes, then, for the ten best props of the season of 1921-22: Continue reading The Ten Best Props (of 1921)
Hi, everybody. I start my summer job at the Santa Fe Opera today; I was traveling and settling in this weekend, so I did not have much time to write.
But I did want to take this chance to remind you to enter the Prop Building Guidebook contest. You still have until April 30th to enter. But more importantly, today is the day you can start voting on entries. You get one vote per day. You can vote on your own entry every day until the contest ends, or you can vote on a different entry every day.
Either way, the entry with the most votes when the contest closes will win their own prize of $100 worth of Focal Press books.
So vote early, and vote often!